JIM WOODS HELPS HIS DAUGHTER, RACHELLE, 11, prepare for the second annual UNL Summer Arts Intertribal Pow Wow July 15 at Memorial Plaza outside the stadium. The Woodses are members of the Omaha Tribe. (Photo: Richard Wright)
Vanessa Redgrave delivers an exquisite performance in the title role of Mrs. Dalloway. Academy Award winner Marleen Gorris' adaptation of Virginia Woolf's masterpiece opened at the Mary Riepma Ross Film Theater on July 16.
A highly romantic, deeply melancholy drama, Mrs. Dalloway offers psychological and existential insights about the inevitable effects - and price - of life choices.
Also showing is a short feature, Adrenaline by Matthew Scott, about the retinal excitement and optical pleasure caused from watching things in motion.
The extraordinary adaptation to screen of Virginia Woolf's acknowledged masterpiece, Mrs. Dalloway is the end result of a collaborative effort by some of the finest talents of our time: including Oscar-winner Redgrave in the title role; Marleen Gorris (Academy Award-winning Dutch film, Antonia's Line) as director; and Eileen Atkins, award-winning actress and co-creator of the popular British television series, Upstairs, Downstairs and House of Eliot, as screenwriter.
Mrs. Dalloway is a romantic drama with deep psychological insight into the world of urban English society in the summer of 1923, five years after the end of World War I. During the course of a single June day, Clarissa Dalloway (Redgrave), a fashionable "perfect hostess" in her early 50s, confronts the decisions she made as a vibrant young woman 30 years before. She wonders if she was right to have chosen a safe, comfortable marriage to successful politician Richard Dalloway over the more romantic and adventurous life she could have had with her other suitor, Peter Walsh, who unexpectedly returns from India on this day of all days.
Mrs. Dalloway and Adrenaline are showing on July 17 through 19 and on July 23 through 26. Screenings are at 7 and 9 p.m. on Thursdays and Fridays; at 1, 3, 7, and 9 p.m. on Saturdays; and at 3, 5, 7, and 9 p.m. on Sundays. Admission is $6; $5 for students; and $4 for senior citizens, children, and members of the Friends of the Mary Riepma Ross Film Theater.
The presentation of this program at the Mary Riepma Ross Film Theater is made possible, in part, with the support of the Nebraska Arts Council, a state agency.
Upcoming performers for the Tuesday Tales storytelling series will be 5 Bright Chicks at 7 p.m. July 28 on the east steps of Architecture Hall, west of the Sheldon Sculpture Garden.
The 5 Bright Chicks are Vicki Baines, Lucy Duncan, Ozzie Nogg, Rita Paskowitz and Peggy Reinecke. The Omaha ensemble tells original stories based on personal experiences.
The Tuesday Tales series is designed for the whole family and is presented every Tuesday in July. The inclement weather site is Westbrook Music Building, just south of Architecture Hall. The performance is free and open to the public
The Lincoln Children's Museum invites you to experience Strobe Magic on "Wonderful Wednesday," from 1 to 3 p.m. July 22. Josephine Martins, from the Edgerton Explorit Museum in Aurora will demonstrate experiments with stop action and illusions with light. A spinning disc will create patterns using the stroboscope. Balloons popping will be caught on film using a flash and a sound trigger. Audience participation will be encouraged as we explore the world of the strobe light, recreating many of the experiments conducted by Harold Edgerton, former MIT professor and native of Nebraska.
A special docent-led tour of the Sheldon Memorial Art Gallery is scheduled at 2:45 p.m. for visitors wishing to see the display of Edgerton's photographs. Visitors will walk to the gallery for a special guided tour of The Art of Science: Documenting the Unseen, The Photographs of Harold Edgerton on display at Sheldon Memorial Art Gallery through Sept. 14.
"Wonderful Wednesday" is an enrichment program sponsored by Sandhills Publishing that is offered at the Children's Museum from 1 to 3 p.m. every Wednesday all summer. All "Wonderful Wednesday" activities are offered at no additional charge to LCM visitors.
The Sheldon Memorial Art Gallery and Sculpture Garden presents Angst on Paper: German Expressionist Prints, an exhibition drawn from the Sheldon Gallery's permanent collection of prints and supplemented by a private collection. With more than 30 prints, the exhibition is a comprehensive survey of German Expressionist works on paper from the first quarter of the 20th century. The exhibition runs to Sept. 20.
Emerging from the many cultural, political, and social crises in Germany during the first two decades of the 20th century, German Expressionism was an attempt by two artistic communities to respond aesthetically to the inhumanity of the modern world. These two communities were Die Brucke (The Bridge), which was founded in Dresden and functioned cohesively from 1905-1913, and Der Blaue Reiter (The Blue Rider), which was founded in Munich and lasted from 1911-1914. The artists attempted to develop an aesthetic language sufficiently "modern" to express the horrors of the 20th century world. This aesthetic language was "expressionism," a style with roots not only in modern styles, such as Impressionism and van Gogh's nervous brushstrokes, but also profoundly influenced by the spirituality of the Middle Ages. Thus, it bears stylistic similarities to medieval and Byzantine art, as well as to the art of non-Western cultures.
Angst on Paper features the work of such important Die Brucke members as Erich Heckel, Ernst Ludwig Kirchner, and Karl Schmidt-Rottluff and Der Blaue Reiter artists Wassily Kandinsky and Franz Marc. Other artists, such as Otto Dix, Paul Klee, Ernst Barlach, and Kathe Kollwitz are part of the broader orbit of German Expressionism which gravitated around several important avant-garde journals, including Jugend (Youth) and Der Sturm. (the Storm).
This association with German literary culture is an important aspect of German Expressionism. Not only did the artists illustrate important works of German literature, they also made art that would be viewed through the print media. Prints were a primary, not secondary, artistic vehicle through which their messages of personal and universal tragedy and triumph could be communicated.
Angst on Paper presents a wide variety of "expressionistic" themes, from the evils of war (Dix) to the heroism of love (Wilhelm Lehmbruck, Emil Nolde and Kirchner).
The Sheldon Memorial Art Gallery and Sculpture Garden presents Contemporary California Painting: The Gribin Gift, an exhibition of 24 paintings by prominent Los Angeles area artists from the 1960s to the 1980s. This painting collection was donated to the Sheldon Gallery in 1997 by the M.A. Gribin Family Trust, of Beverly Hills, Calif. The exhibition will run through Sept. 14.
Mickey and Ruth Gribin, who began collecting Los Angeles art at a time when most serious art collectors were looking to the East Coast, have amassed one of the most comprehensive private collections of Los Angeles Abstraction, a movement that emphasized the lyrical, expressive, intuitive, and sensual potential of abstract painting.
Not only did the Gribins collect art, they became intimately involved in many of the artists' lives, serving as "patrons" who encouraged their aesthetic activity and offered a sense of community for many artists whose aesthetic direction had isolated them from the artworld mainstream.
Featured in this exhibition is a diverse collection of paintings that documents a common West Coast interest in the expressive and the lyrical as well as an attraction to "non-traditional" fine arts materials. The expressive and lyrical side of West Coast painting is revealed in the soft sensual abstract brushwork of John Altoon, the brightly colored illusionistic geometry of Ron Davis, and the sprayed acrylic ribbons of Dan Christensen. Jack Barth's use of roofing tar paper, Laddie Dill's utilization of glass embedded into concrete, and Charles Christopher Hill's use of paper, cloth, and stitching threads all suggest a definite interest in "non-traditional" materials.
"Monty Roberts: A Real Horse Whisperer", airing Friday, July 24 at 7 and 8:30 p.m. on the Nebraska ETV Network, captures a Nevada cowboy using nonviolent means to accomplish the nearly-impossible feat of taming a wild mustang on the open range.
Nebraska ETV is taping three terrific bands in July for future broadcast as part of its 33rd Street Sessions concert series and music fans are invited to beat the heat by joining the studio audiences for some of the best music performances around. Be part of the action as Radio King (rockabilly), Blue House (blues-rock) and Luigi, Inc. (jazz) are captured for posterity!
All the studio concerts are being videotaped at the Nebraska ETV Network Studios at 1800 N. 33rd St. in Lincoln. Audience members are asked to arrive by 7 p.m. and the concerts will begin at 7:30 p.m. Producers request that participants avoid wearing solid white clothing and that they come ready to dance and have fun.
The best Nebraska high school football players from the senior class of 1998 compete in the "Shrine Football Classic" airing at 5 p.m. July 25 on the statewide Nebraska ETV Network.
The two-and-a-half hour sports special, broadcast live from the University of Nebraska's Memorial Stadium, features commentary and game action by sportscasters Bill Doleman, Adrian Fiala and Kevin Kugler.
Nancy Zieman, host of public television's Sewing With Nancy series, will present a workshop, Sewing With Nancy Time Saving Tips, at 7 p.m. on Aug. 14 at the Lincoln campus of Southeast Community College, 8800 O St.
Cost for the two-hour workshop is $19. For registration information, contact Southeast Community College's Continuing Education Division at 437-2700.
For more than 15 years, Zieman has shown countless women, men and children how to sew clothing and accessories to improve their quality of life. "Having the ability to create exactly what you need is very satisfying," says Zieman.
The Sheldon Memorial Art Gallery and Sculpture Garden is exhibiting more than 30 photographs in The Art of Science: Documenting the Unseen, the Photographs of Harold Edgerton. The exhibition drawn from the Gallery's permanent collection, opened July 7 and runs through Sept. 14.
In 1996, the Harold and Esther Edgerton Family Foundation donated 61 prints to the Sheldon.
A native Nebraskan and NU graduate, Edgerton studied in electrical engineering at MIT and remained there as a teacher and scientist until his retirement in 1968, achieving MIT's highest rank of Institute Professor Emeritus. A member of the National Academy of Sciences and National Academy of Engineers, it was in the laboratories at MIT where Edgerton became involved in photography.
Initially a means by which he could document and record scientific experiments, photography became a powerful aesthetic tool in Edgerton's investigations. Through his invention of the "stroboscope" Edgerton achieved an international reputation in both the scientific and artistic communities. The stroboscope enabled Edgerton to freeze movement by utilizing an exposure of less than one-millionth of a second, which produced photographs of amazing, almost surreal, clarity. Well-known Edgerton photographs (included in the exhibition) are the atomic bomb blast, a milk drop "coronet," and bullets penetrating apples and playing cards, revolutionized the way mechanical and human motion is perceived and studied.
Despite the fact that his photographs evolved inseparably from his scientific inquiry into the mechanics of motion, Edgerton's work hangs in art and science museums worldwide.
Edgerton began increasingly to pay more attention to the "aesthetics" of his photographic documents, often reshooting a movement in order to achieve a higher aesthetic result.
Since the pioneering work of Eadweard Muybridge in the 1870s, photography has been inextricably bound up with science and art - the exploration of the visible world and the inherent limitations of our powers of observation. Not only did such painters as Manet, Courbet and Degas work extensively from photographs but the early twentieth century avant-gardists, from the Russian Constructivists to the German Dadaists, utilized the "aesthetics" of anonymous scientific photographs as a means of raising their own artistic activities to the level of "scientific research," thus implying a more immediate relevance for society.
Edgerton's work, in a unique way, re-engages the same relationship between "art" and "science" and reveals that both artists and scientists premise their activities upon the belief that they are exploring new realities, new ways of seeing, new ways of experiencing the world and utilizing its potential.
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